When Martin Tillman laid down his cello on this track, it was a quiet rubato piece with only Fender Rhodes and a lead vocal – when he first heard the final mix, it had had so much surgery he didn’t recognize it! Gayle Levant’s harp – which really brings the track to life, I feel – was added midway through the mix; she set up on a piece of plywood in the control room, and took the chart places I hadn’t imagined. I improvised the keyboard bass at the last minute, too – it ain’t over till it’s over! —jsk